Friday, January 29, 2016




After finally seeing the 2008 Academy Award winning Best Picture, ”SLUMDOG MILLIONAIRE”, I am beginning to suspect that this film had garnered a great deal of unnecessarily extreme reactions. Moviegoers either loved it with every fiber of their being or considered it as either vastly overrated or insulting to the citizens of India. My reaction to the movie has been neither.

Directed by Danny Boyle, co-directed by Loveleen Tandan and written by Simon Beaufoy, ”SLUMDOG MILLIONAIRE” is about a young man from the slums of Mumbai who appears on the Indian version of “Who Wants to Be a Millionaire?”(Kaun Banega Crorepati, mentioned in the Hindi version) and exceeds people's expectations, arousing the suspicions of the game show host and of law enforcement officials. Beaufoy based his script upon the Boeke Prize-winning and Commonwealth Writers' Prize-nominated novel, ”Q & A” (2005), written by Indian author and diplomat Vikas Swarup.

The question is – do I believe that ”SLUMDOG MILLIONAIRE” had deserved its Best Picture Oscar? Honestly? No, I do not. In fact, the movie did not even make my list of Top Ten Favorite Movies of 2008. In some ways, I do feel that it is slightly overrated. No movie is perfect, but the flaws in this movie – or aspects of the movie I saw as flaws – made me wonder how it managed to win Oscars in the Picture, Director and Adapted Screenplay categories. I realize that this movie is based upon Swarup’s novel, in which the plot is centered around a popular game show. But I really could have done without this particular plot device. I found the scenes that featured Jamal Malik’s moments during the question-and-answer sessions of the game show unnecessarily dramatic. This plot device also provided a ridiculously over-the-top ‘happy ending’ that provided a sharp contrast to most of the story. And the idea that the game show questions provided triggers to Jamal’s reminisces about his childhood and his feelings about Latika, a girl he first fell in love with following the deaths of their parents in a mob attack did not exactly work for me. It seemed . . . off. There were times when director Danny Boyle and screenwriter Simon Beaufoy made it difficult to keep track on what Jamal was reminiscing in regard to the question he was being asked on the game show. By biggest complaints centered around the movie’s second half, the characterization of Latika and Chris Dickens’ editing.

At least two-thirds of ”SLUMDOG MILLIONAIRE” are focused around the boyhoods of Jamal’s recollections of his childhood in the slums of Mumbai with his older brother, Salim. In my opinion, this was the movie’s strongest part. It was not perfect, but a hell of a lot better than the second half. There have been complaints that Boyle’s savage look into Mumbai’s slums is not the real India. Perhaps it is. Perhaps it is not. I would not know. I have never seen the real India. I must admit that the series of incidents presented in the movie’s first half left me feeling that I was watching an Anglo-Indian version of a Charles Dickens novel. Especially ”Oliver Twist”. And I found it fascinating, despite the squalor presented on the screen. But once the movie’s setting shifted to 2006 Mumbai, I found myself mired in a contrived story in which the rescue of Jamal’s love, Latika, from a wealthy gangster depended upon his success on the”Who Wants to Be a Millionaire?” show. As it turned out, Latika ended up being rescued by Jamal’s gangster brother, Salim.

Speaking of Latika, she proved to be another problem. Quite frankly, I found her character rather one-dimensional and frustrating. She seemed to be the ultimate example of the damsel-in-distress archetype. Jamal saw her as his”destiny”. I saw her as this rather uninteresting character that became nothing more than a trophy for various character – including Jamal. There was one scene in which Salim decided to claim Latika as a sex partner after he had saved her and Jamal by killing some minor gangster whom she worked for. Jamal naturally tried to prevent Salim from claiming Latika. Latika did nothing . . . until she agreed to sleep with Salim to prevent him from hurting Latika. And I . . . was disgusted. She could have easily helped Jamal overcome Salim. Instead, she stood there like an idiot before offering herself to the older brother. The only time Latika ever really did something for herself was when she unsuccessfully tried to flee from the wealthy gangster. She was a very frustrating character and I felt sorry for the actresses – especially Freida Pinto – forced to portray such an uninteresting character. One last problem I had with this movie was Chris Dickens’ editing. It seemed like it was more appropriate for a MTV music video clip, instead of a two hour movie. Worse, it interfered with my enjoyment of Anthony Dod Mantle’s colorful cinematography. What makes this nauseating is that Dickens managed to win an Oscar for his work.

On the whole, ”SLUMDOG MILLIONAIRE” is pretty good movie that tries to give Westerners a peek into late 20th century and early 21st century India. The movie can boast some first rate performances by the movie’s lead actor, Dev Petel, who portrayed the 18 year-old Jamal, Tanay Chheda as the pre-adolescent Jamal, Azharuddin Mohammed Ismail as the young Salim and Tanay Chheda as the early adolescent Salim. I was also impressed by Irrfan Khan’s performance as the police inspector who interrogated Jamal throughout most of the movie. He and Petel created a very interesting screen team. As I had stated earlier, I was also impressed by Mantle’s cinematography in the movie. Despite the squalor that permeated the scenes featuring Jamal and Salim’s childhood, he infused the photography with color, energy and sweep. And what can I say about the exciting music featured in this film? I loved it. A. R. Rahman definitely deserved his Oscar for one of the most exciting and original film scores I have heard in years . . . and that includes ”Jai Ho”, the song he wrote for the film. By the way, he earned a well deserved Oscar for that as well.

Considering the eight (8) Academy Awards that it had earned, I wish I could say that it deserved all of its awards. But I do not think it did. Despite the movie’s first-rate cast, Mantle’s excellent photography and Rahman’s superb score, I cannot say that it was the best movie I had seen in 2008. In fact, it failed to make my list of 10 favorite movies for that year. Frankly, I found Simon Beaufoy’s script rather uneven and his characterization of the Latika character one-dimensional. And Danny Boyle failed to rise above these flaws with his direction. But . . . despite the movie’s flaws, I could honestly say that it would have made my list of the top 20 movies of 2008.

Tuesday, January 26, 2016

Steak Diane


Below is an article that features the history and a recipe for a dish called "Steak Diane": 


Tracing the history of the culinary dish, Steak Diane, proved to be a complicated affair. From some of the articles I have read, the dish's history could be traced back to the late 19th century and early 20th century, when European chefs rediscovered the recipe for an ancient dish that required sauce served over venison. Its sharp sauce was intended to complement the sweet flavor of deer meet. It was named after the Roman goddess of the hunt and the moon, Diana.

But the actual Steak Diane evolved from Steak au Poivre, which was coated with cracked peppercorn before cooked and smothered with sauce. But Steak au Poivre did not include flambéing with brandy in its recipe. Steak Diane did. Sometime during the 1950s, Steak Diane made its first appearance either at the The Drake Hotel, the Sherry-Netherland Hotel or the Colony Restaurant in New York City. Beniamino "Nino" Schiavon, an Italian-born chef who worked at the Drake Hotel. I do know that Steak Diane became a very popular dish for those who hobnobbed within New York's high society during the 1950s and 1960s. 

The following is a recipe for the dish from celebrity chef, Emeril Lagassee:

Steak Diane

4 (3-ounce) filet mignon medallions
1/2 teaspoon salt
1/4 teaspoon freshly ground black pepper
1 tablespoon unsalted butter
4 teaspoons minced shallots
1 teaspoon minced garlic
1 cup sliced white mushroom caps
1/4 cup Cognac or brandy
2 teaspoons Dijon mustard
1/4 cup heavy cream
1/4 cup reduced veal stock, recipe follows
2 teaspoons Worcestershire sauce
2 drops hot red pepper sauce
1 tablespoon finely chopped green onions
1 teaspoon minced parsley leaves


Season the beef medallions on both sides with the salt and pepper. Melt the butter in a large skillet over medium-high heat. Add the meat and cook for 45 seconds on the first side. Turn and cook for 30 seconds on the second side. Add the shallots and garlic to the side of the pan and cook, stirring, for 20 seconds. Add the mushrooms and cook, stirring, until soft, 2 minutes. Place the meat on a plate and cover to keep warm.

Tilt the pan towards you and add the brandy. Tip the pan away from yourself and ignite the brandy with a match. (Alternatively, remove the pan from the heat to ignite, and then return to the heat.) When the flame has burned out, add the mustard and cream, mix thoroughly and cook, stirring, for 1 minute. Add the veal stock and simmer for 1 minute. Add the Worcestershire and hot sauce and stir to combine. Return the meat and any accumulated juices to the pan and turn the meat to coat with the sauce.

Remove from the heat and stir in the green onions and parsley. Divide the medallions and sauce between 2 large plates and serve immediately.

Here is the recipe for the Reduced Veal Stock:


4 pounds veal bones with some meat attached, sawed into 2-inch pieces (have the butcher do this)
2 tablespoons olive oil
2 cups coarsely chopped yellow onions
1 cup coarsely chopped carrots
1 cup coarsely chopped celery
5 garlic cloves, peeled and smashed
1/4 cup tomato paste
6 quarts water
4 bay leaves
1 teaspoon dried thyme
1 teaspoon whole black peppercorns
1 teaspoon salt
2 cups dry red wine


Preheat the oven to 375 degrees F. 

Place the bones in a large roasting pan and toss with the oil. Roast, turning occasionally, until golden brown, about 1 hour. Remove from the oven and spread the onions, carrots, celery, and garlic over the bones. Smear the tomato paste over the vegetables and return the pan to the oven. Roast for another 45 minutes. Remove from the oven and pour off the fat from the pan.

Transfer the bones and vegetables to a large stockpot. Do not discard the juices in the roasting pan. Add the water, bay leaves, thyme, salt, and peppercorns to the stockpot and bring to a boil. Meanwhile, place the roasting pan over two burners on medium-high heat. Add the wine and stir with a heavy wooden spoon to deglaze and dislodge any browned bits clinging to the bottom of the pan. Add the contents to the stockpot. When the liquid returns to a boil, reduce the heat to low and simmer, uncovered, for 8 hours, skimming occasionally to remove any foam that rises to the surface.

Ladle through a fine-mesh strainer into a large clean pot. Bring to a boil, reduce to a gentle boil, and cook, uncovered, until reduced to 6 cups in volume, about 1 hour. Let cool, then cover and refrigerate overnight. Remove any congealed fat from the surface of the stock. The stock can be stored, covered, in the refrigerator for up to 3 days, or frozen in airtight containers for up to 2 months.

Saturday, January 23, 2016

"EASTERN PROMISES" (2007) Photo Gallery

Below is a gallery of images from the 2007 crime thriller, "EASTERN PROMISES". Directed by David Cronenberg, the movie starred Viggo Mortensen and Naomi Watts:

"EASTERN PROMISES" (2007) Photo Gallery

Wednesday, January 20, 2016

"POLDARK" (1996) Review


"POLDARK" (1996) Review

Over seventy years ago marked the publication of author Winston Graham's first entry in his novel series about a former British Army officer who had served in the American Revolution and his life experiences following his return to home in Cornwall. The BBC aired a successful television series that was based upon Graham's first seven novels in 1975 and 1977. 

Four years after the publication of his seventh novel, Graham concluded his literary series with five more between 1981 and 2002. In 1996, the HTV channel produced a pilot episode, which proved to be an adaptation of Graham's eighth novel, "The Stranger from the Sea". HTV had hoped this television movie would prove to be the first of a continuing adaptation of the 1981 novel and the remaining four. Unfortunately, fans protested against the casting of new performers in the lead roles of Ross Poldark and Demelza Carne Poldark. Fifty members of the Poldark Appreciation Society marched in full 18th-century costumes to picket HTV's headquarters in Bristol, England. When Graham admitted that he preferred the new film to the original television series from the 1970s, he found himself cold-shouldered by the Society of which he was president. Needless to say, the television film, also titled "POLDARK", proved to be a ratings flop and the network dropped all plans for an adaptation of Graham's later novels.

I first learned about "POLDARK" and its literary source, "The Stranger from the Sea" from the ELLEN AND JIM HAVE A BLOG, TWO website. Already familiar with the 1970s series, I decided to check out this movie via Netflix. Set between 1810 and 1811 (eleven to twelve years after the 70s series' conclusion), the plot revolved around the Poldark family's initial encounter with a young smuggler named Stephen Carrington, while they awaited the return of patriarch Ross Poldark from his Parliamentary duties in London. I realize that this summary seems rather simple, but it was for a good reason. Like all narratives, "POLDARK" featured a good number of subplots. But for the likes of me, I found it difficult to pinpoint a main narrative for this particular plot after watching thirty minutes of the film. I was able to detect various subplots in this production:

*Ross Poldark's political mission regarding the possible end of the Peninsular War
*Demelza Carne Poldark's frustration over her husband's absence from home
*The arrival of smuggler Stephen Carrington in Cornwall, whose presence will have an impact upon others
*Clowance Polark's romantic involvement both Carrington and Lord Edward Fitzmaurice, whom she met in London
*Jeremy Poldark, Carrington and Ben Carter's smuggling operation
*Jeremy's attraction to the well-born Cuby Trevanion
*Widower George Warleggan's courtship of Lady Harriet 
*Clash between the Poldarks and Warleggan over Wheal Leisure (mine)

This is a lot for a 102 minute television movie. If the HTV network really wanted to continue the "POLDARK" series with episodes that are adaptations of Graham's last five novels, it should NOT have adapted all of "The Stranger from the Sea" in the space of 102 minutes. Another problem I had with the movie's narrative is that it resumed the "Poldark" saga without any recollections or flashbacks on what previously happened during the 1975-1977 series. I would have dismissed this if the 1996 movie had aired less than a year after the last episode of the original series. But it airednineteen (19) years after the original series' last episode. Nineteen years. I think some narrative or recollection of what happened in the 1970s series should have been given before the story could continue. 

On the other hand, I feel that the production had more or less found its footing some twenty or thirty minutes into the production. I actually found myself investing in the movie's subplot - especially those that involved Jeremy and Clowance's romantic lives. And I thought Richard Laxton did a pretty solid job in maintaining the movie's pacing and conveying Graham's story to the screen. The author had seemed satisfied with movie. Mind you, his attitude got him into trouble with his saga's many fans. But I could see why he enjoyed the movie overall. It really is not that bad. Aside from the first twenty or thirty minutes, I found it easy to follow and rather enjoyable. 

Some people blame the casting of John Bowe and Mel Martin as Ross and Demelza Polark for the ratings failure of"POLDARK". This is probably the truth. Many viewers simply refused to accept the two performers as the leads . . . especially since the producers had originally considered Robin Ellis and Angharad Rees from the 1975-1977 series to reprise their roles. They also seemed displeased with Michael Atwell as George Warleggan, even though Ralph Bates, who had originated the role, had passed away five years before this movie aired on television.

I have to be honest. I did not have a problem with Bowe, Martin and Atwell. Both Bowe and Martin gave solid performances as Ross and Demelza Poldark. But to be honest, the screenplay did not allow their characters to be showcased that much during the first two-thirds of the movie. By the time the pair's characters were finally reunited for the movie's last half hour, both Bowe and Martin were allowed to strut their stuff . . . so to speak. This was especially true for Bowe in one scene with Michael Atwell. I certainly had no problems with Atwell's portrayal of Ross Poldark's long-time rival, George Warleggan. I found it very intense and complex. Atwell did not portray his character was a one-dimensional villain - especially in scenes that featured Warleggan's continuing grief over his late wife Elizabth Chynoweth Poldark Warleggan, who had died eleven years ago; or his rather odd courtship of the slightly intimidating Lady Harriet.

The production also featured first-rate performances from Nicholas Gleaves as Stephen Carrington, Hans Matheson as Ben Carter, Amanda Ryan as Cuby Trevanion and Gabrielle Lloyd as Jane Gimlet. But aside from Atwell, I felt the other two best performances in the production came from Kelly Reilly, who gave a very complex performance as Ross and Demelza's daughter Clowance; and Ioan Gruffudd as the couple's son, Jeremy. It was interesting to see both Reilly and Gruffudd when they were both near the beginning of their careers. Even then, the pair displayed the talent and screen presence that eventually made them well known.

In the end, I realized that I could not share the antagonism toward the 1996 televised movie "POLDARK". Yes, I had a problem with the vague storytelling in the movie's first half hour. And this adaptation of Winston Graham's 1981 novel should have stretched out beyond a 102 minute television movie. But I still enjoyed it in the end, thanks to some exceptional and solid performances from the cast and the energy that seemed to infuse the subplots after that first thirty minutes. I would consider it a worthy addition to my collection of televised adaptations of Graham's novels.

Monday, January 18, 2016

Top Five Favorite Episodes of "BABYLON 5" (Season One: "Signs and Portents")

Below is a list of my top five (5) favorite episodes from Season One (1994) of "BABYLON 5". Created by J. Michael Straczynski, the series starred Michael O'Hare, Claudia Christian, Jerry Doyle and Mira Furlan: 


1. (1.13) "Signs and Portents" - In this episode, a Centauri noble comes to Babylon 5 to transport an important Centauri relic in Londo's possession back to the homeworld. And a mysterious man named Mr. Morden visits all the alien ambassadors in order to ask them an unusual question.

2. (1.08) "And the Sky Full of Stars" - Commander Sinclair is kidnapped and interrogated by two war veterans determined to prove that he had betrayed Earth at the Battle of the Line, during the Earth-Minbari War.

3. (1.20) "Babylon Squared" - The previous Babylon station, Babylon 4, reappears at the same place it had disappeared four years earlier. Sinclair and Garabaldi lead an evacuation team for the station's crew. The story concludes in Season Three. Meanwhile, Ambassador Delenn is summoned by Minbar's Grey Council and is asked to become the new leader.

4. (1.22) "Chrysalis" - In the season finale, Delenn commences upon a physical transformation, Ambassador Londo Mollari receives an offer from Mr. Morden to deal with a problem regarding the Narns, and Garabaldi uncovers a deadly conspiracy against the President of Earth Alliance.

5. (1.12) "By Any Means Necessary" - Following a fatal accident in the station's docking bay, an increasingly exhausted Sinclair is forced to deal with a potential labor uprising. And Ambassador G'Kar has to get a replacement G'Quan-Eth plant for an important religious ceremony.

Friday, January 15, 2016

"THE FOUR FEATHERS" (1939) Photo Gallery


Below is a gallery featuring stills from the 1939 version of A.E.W. Mason's novel, "THE FOUR FEATHERS". This version stars John Clements, Ralph Richardson, June Duprez, and C. Aubrey Smith. It was produced by Alexander Korda and directed by Zoltan Korda: 

"THE FOUR FEATHERS" (1939) Photo Gallery















Harry Faversham


Wednesday, January 13, 2016



I have read only one of three novels written by Robert Ludlum about the amnesiac spy and assassin, Jason Bourne. And it was the 1980 novel - the first one. It was pretty good novel, but it bore scant resemblance to Doug Liman's 2002 movie, "THE BOURNE IDENTITY"

I never saw "THE BOURNE IDENTITY" in the movie theaters. But I did see it on DVD and became an instant fan. It did lead me to see the 2004 sequel, "THE BOURNE SUPREMACY" in the theaters. I never read the 1986 novel from which the movie derived its title. It was just as well. This movie bore no resemblance, whatsoever, to Ludlum's second novel.

Set two years after the 2002 movie, "THE BOURNE SUPREMACY" began in Berlin, Germany; where a C.I.A. operation to obtain information on an Agency mole that stole $20 million dollars of allocation money. The operation was led by a C.I.A. Deputy Director named Pamela Landy. However, a Russian F.S.B. agent named Krill killed Landy's source and a field agent, stole the evidence and framed former operative Jason Bourne for the crime by planting a false fingerprint. Krill's benefactor, an oil magnate named Yuri Grelkov, ordered him to kill Bourne, who was living in Goa, India with his girlfriend, Marie Kreutz. Krill ended up killing Marie after a high-speed chase in Goa. And Bourne returned to Europe to exact revenge upon the C.I.A., believing they were responsible for Marie's death. At the same time, Bourne has been besieged by dreams and memories of an early assignment that led to his murder of two people in a hotel - an assignment that ended up having strong links to the botched operation in Berlin.

"THE BOURNE SUPREMACY" turned out to have the shortest running time in the entire movie franchise. Although it featured two chase sequences - one in Goa and the other in Moscow, it seemed less action-oriented than the other two films. If I must be honest, this BOURNE movie is noteworthy for two things, the death of Marie Kreutz and the introduction of C.I.A. director Pamela Landy. It has never received the same level of attention that the other movies have. And yet . . . it is my favorite one in the entire trilogy that features Matt Damon.

I have at least two problems with "THE BOURNE SUPREMACY". My first problem featured the character of Jarda, portrayed by actor Marton Csokas. During his confrontation with Bourne inside his Munich home, Jarda claimed that they were the only two Treadstone operatives still living. Originally, I thought Jarda was the same guy who had killed Alexander Conklin in "THE BOURNE IDENTITY" (portrayed by actor Russell Levy). But I learned that Conklin's killer was named Manheim. And according to the 2002 movie, there were only three other Treadstone operatives, aside from Bourne. Jarda was NOT one of them. Had screenwriter Tony Gilroy forgotten about Manheim? "THE BOURNE SUPREMACY" marked Paul Greengrass' debut as the director of a BOURNE. Doug Liman, who had directed the first film, served as one of the film's producers. It also marked the first appearance of the shaky-cam style filming that I have grown to dislike. Such style of filming is fine in a war movie or a documentary-style flick. But it almost made the chase sequences in Goa and especially in Moscow visually confusing.

Despite what I believe were flaws in the movies, I cannot deny that I love "THE BOURNE SUPREMACY". It may have been the least action-oriented film in the franchise, but I firmly believe that thanks to Tony Gilroy's writing, Paul Greengrass' direction and Matt Damon's performance; it was the most emotional film of the three. And it featured great character development for the Jason Bourne, Pamela Landy, Nicky Parsons and Ward Abbott characters. This movie, I believe, featured Matt Damon's finest moment in the entire trilogy and some of his best acting, period. 

Ludlum's 1986 novel included a plot line that featured the character of Marie St. Jacques Webb being kidnapped to coerce David Webb into assuming the role of Jason Bourne again in order to deal with a deadly assassin. Gilroy was inspired by this plot line to create a story in which Bourne's past as an assassin would force him to atone for his crimes - especially the one crime that started his career for Treadstone. Marie's death at the hands of Krill forced Bourne to seek out the C.I.A. again. It also led to what I believe to be the best scene in the entire trilogy - Bourne's meeting with the young Russian girl, whose parents had been his first victims. 

But there were other scenes that either took my breath away or strongly impressed me. They include Marie's death in Goa, the verbal confrontations between Pamela Landy and Ward Abbott, Bourne's fight with Jarda, Nicky Parson's terror-filled conversation with Bourne about his first assignment, Bourne's realization that he had been tricked into committing two unsanctioned murders by Conklin and Abbott, Abbott's final conversations with both Bourne and Landy, and the Bourne/Krill car chase in Moscow. Looking at this list, I realize that many of these scenes were dramatic, instead of action-oriented. And this does not bother me, because the level of drama and the performances made it all worthwhile.

I cannot talk about "THE BOURNE SURPEMACY" without discussing the cast. I have already expressed my delight at Matt Damon's acting in this film. He gave his usual, top-level performance. And as I had stated earlier, his scene with actress Oksana Akinshina, who portrayed the daughter of the Russian couple he had killed years earlier, was probably the best I had seen in the franchise. I found it intense, yet subtle and emotional. 

Joan Allen made her first appearance as C.I.A. Deputy Director Pamela Lundy. I have a deep suspicion that her role was inspired by Judi Dench's tenure as "M" in the last six James Bond movies. Allen proved to be equally strong and commanding as Lundy, yet at the same time, managed to quietly express her character's insecurities in her scenes with Brian Cox's Ward Abbott. I must admit that I was not hat impressed by Cox in the first BOURNE movie. He seemed to be overshadowed by Chris Cooper's more showy portrayal of Alex Conklin. But he was in top form as the quiet and desperately manipulative Ward Abbott, who along with Yuri Grelkov, was responsible for the theft of the missing C.I.A. funds. 

Like Cox, Julia Stiles' second appearance in a BOURNE movie proved to be a lot more impressive. Her character, Nicky Parsons, transformed from the shadowy Treadstone operative to a woman frightened at the idea of facing a murderous Jason Bourne. Her emotional scene with Damon's Bourne in Berlin proved to be one of the best in the movie. Franka Potente briefly returned as Bourne's doomed girlfriend, Marie Kreutz to give a first-rate performance in a scene that featured the character's attempt to keep Bourne's raging paranoia in check. Her death at the hands of Krill proved to be one of the most surprising moments I have encountered in a movie in years. For someone who spoke very few lines, Oksana Akinshina did an excellent job in her portrayal of the Neskis' daughter. That confession scene with Damon would have never worked without her spot-on response. Although I had seen Karl Urban in two "LORD OF THE RINGS" movies by 2004, his performance as the cold-blooded F.S.B. agent Krill, finally led me to take notice of him as an actor. Urban radiated more presence in this role than he did in Peter Jackson's movies. And he managed to achieve this with less lines. More importantly, his Krill proved to be a VERY effective nemesis for Bourne, despite being a lesser trained operative. And finally, the movie also featured a brief appearance by Tomas Arana in a sharp performance as the sardonic C.I.A. Director Marshall.

Yes, "THE BOURNE SUPREMACY" has its flaws. I cannot deny this. Just about every movie I have seen has flaws. I have also noticed that it has attracted less attention than the other two BOURNE movies. Yet, thanks to Paul Greengrass' direction, Tony Gilroy's script and a superb cast led by Matt Damon; it is my favorite film in the franchise.